Adobe-full-colorAdobe-whiteAdobe-blacklogo-whiteAdobe-fullAdobeBehancearrow-downarrow-rightLineCreated with Sketch.close-tablet-03close-tablet-05commentdropdown-closedropdown-openfacebookinstagramlinkedinlogorsssearchsharetwitter

When George Plimpton asked Ernest Hemingway what the best training for an aspiring writer would be in a 1954 interview, Hem replied, “Let’s say that he should go out and hang himself because he finds that writing well is impossibly difficult. Then he should be cut down without mercy and forced by his own self to write as well as he can for the rest of his life. At least he will have the story of the hanging to commence with.”

Today, writing well is more important than ever. Far from being the province of a select few as it was in Hemingway’s day, writing is a daily occupation for all of us — in email, on blogs, and through social media. It is also a primary means for documenting, communicating, and refining our ideas. As essayist, programmer, and investor Paul Graham has written, “Writing doesn’t just communicate ideas; it generates them. If you’re bad at writing and don’t like to do it, you’ll miss out on most of the ideas writing would have generated.” So what can we do to improve our writing short of hanging ourselves? Below, find 25 snippets of insight from some exceptional authors. While they are all focused on the craft of writing, most of these tips pertain to pushing forward creative projects of any kind.

[The] Resistance knows that the longer we noodle around “getting ready,” the more time and opportunity we’ll have to sabotage ourselves. Resistance loves it when we hesitate, when we over-prepare. The answer: plunge in.

Find a subject you care about and which you in your heart feel others should care about. It is this genuine caring, and not your games with language, which will be the most compelling and seductive element in your style. I am not urging you to write a novel, by the way — although I would not be sorry if you wrote one, provided you genuinely cared about something. A petition to the mayor about a pothole in front of your house or a love letter to the girl next door will do.

Find an organizational scheme for your notes and materials; keep up with it (if you are transcribing sound files or notebooks, don’t let yourself fall behind); and be faithful to it: Don’t obsess over an apparently better scheme that someone else has. At some point during your work, someone will release what looks like a brilliant piece of software that will solve all your problems. Resist the urge to try it out, whatever it is, unless 1) it is endorsed by people whose working methods you already know to be like your own and 2) you know you can implement it quickly and easily without a lot of backfilling. Reworking organizational schemes is incredibly seductive and a massive timesuck.

Hone your outline and then cling to it as a lifeline. You can adjust it in mid-stream, but don’t try to just write your way into a better structure: think about the right structure and then write to it. Your outline will get you through those periods when you can’t possibly imagine ever finishing the damn thing — at those times, your outline will let you see it as a sequence of manageable 1,000 word sections.

Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of “Lincoln’s Melancholy” I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly.

Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I’ve got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish – they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

[Be] willing to write really badly. It won’t hurt you to do that. I think there is this fear of writing badly, something primal about it, like: “This bad stuff is coming out of me…” Forget it! Let it float away and the good stuff follows. For me, the bad beginning is just something to build on. It’s no big deal. You have to give yourself permission to do that because you can’t expect to write regularly and always write well. That’s when people get into the habit of waiting for the good moments, and that is where I think writer’s block comes from. Like: It’s not happening. Well, maybe good writing isn’t happening, but let some bad writing happen… When I was writing “The Keep,” my writing was so terrible. It was God-awful. My working title for that first draft was, A Short Bad Novel. I thought: “How can I disappoint?”

Be without fear. This is impossible, but let the small fears drive your rewriting and set aside the large ones until they behave – then use them, maybe even write them. Too much fear and all you’ll get is silence.

Don’t look back until you’ve written an entire draft, just begin each day from the last sentence you wrote the preceeding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in… The edit.

In private correspondence the great mystery writer Raymond Chandler once confessed that even if he didn’t write anything, he made sure he sat down at his desk every single day and concentrated. I understand the purpose behind his doing this. This is the way Chandler gave himself the physical stamina a professional writer needs, quietly strengthening his willpower. This sort of daily training was indispensable to him.

Have more than one idea on the go at any one time. If it’s a choice between writing a book and doing nothing I will always choose the latter. It’s only if I have an idea for two books that I choose one rather than the other. I always have to feel that I’m bunking off from something.

Don’t hang around with people who are negative and who are not supportive of your writing. Make friends with writers so that you have a community. Hopefully, your community of writer friends will be good and they’ll give you good feedback and good criticism on your writing but really the best way to be a writer is to be a writer.

You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You’ve been backstage. You’ve seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.

If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don’t just stick there scowling at the problem. But don’t make telephone calls or go to a party; if you do, other people’s words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.

A work in progress quickly becomes feral. It reverts to a wild state overnight… it is a lion growing in strength. You must visit it every day and reassert your mastery over it. If you skip a day, you are, quite rightly, afraid to open the door to its room. You enter its room with bravura, holding a chair at the thing and shouting, ‘Simba!’

I believe myself that a good writer doesn’t really need to be told anything except to keep at it. Just think of the work you’ve set yourself to do, and do it as well as you can. Once you have really done all you can, then you can show it to people. But I find this is increasingly not the case with the younger people. They do a first draft and want somebody to finish it off for them with good advice. So I just maneuver myself out of this. I say, Keep at it. I grew up recognizing that there was nobody to give me any advice and that you do your best and if it’s not good enough, someday you will come to terms with that.

I have forced myself to begin writing when I’ve been utterly exhausted, when I’ve felt my soul as thin as a playing card, when nothing has seemed worth enduring for another five minutes… and somehow the activity of writing changes everything. Or appears to do so.

Writing is all about starting and not giving a f** to critiques. Stephen King said reading a lot and writing a lot can make someone a great writer. I second it, wholeheartedly.

Jamie

Every writer is different. I need to research to improve, without it, I freak out middle sentence, worrying. Others just wing it, just write and write. Some plan, some jump right in, others are in the middle, some don’t read as much, some don’t write as much. Regardless, find what’s best for you as a writer. 🙂

More articles on
Habits & Routines

Bangkok transplant and Design Army cofounder, Pum Lefebure, has taken up the mantle of Washington design godmother, bolstering the artistic community into a city-defining hub, and (literally) knocking down barriers wherever she goes.

The Eight and a Half studio founder tackles the graphics of American resistance from Benjamin Franklin to the Vietnam War and draws a few lessons on how America’s darkest moments spark some of its greatest design.